Although I could be happy mounting this lens on my camera and using it exclusively for an entire week, such merriment would be "self indulgent." For the majority of people, the fisheye effect (like its namesake and relatives), begins to smell funny rather quickly. Consequently, I use it somewhat sparingly -- though still press it into "non standard" service (such as portraits) whenever possible. Also, with a little post-processing, it'll de-fish nicely into an ultra-wide angle alternative. This is one sharp tube of glass. Its only fault (and it's minor) is the "friction fit" lens cap that, more often than not, detaches itself from the hood, leaving the bulbous front element exposed. Though still perfectly unmarred, I live with a certain modicum of fear whenever I take this lens into the field.

Believe it or not, this is not the oddest looking lens in my arsenal (a distinction held by the Lensbaby 3G). Like a fisheye or macro, this highly underrated gem is a specialty lens. However, unlike those lenses, owner satisfaction requires patience, knowledge and skill. The tilt and shift functions make this lens ideally suited to landscape and architectural photography, where the shifting mechanism keeps parallel lines from converging and the tilting mechanism provides greater depth of field. Best used at f/8 on a tripod (though I'm fond of handholding it), this manually-focused mechanical wonder delivers vibrant, geometrically accurate photos that far exceed the quality obtained by software-based perspective solutions.

Never has a lens taken so long to grow on me. Purchased as a fast wide-angle to compliment my 135 f/2L, three things immediately impacted my enjoyment. First, the focus varied erratically between soft and very soft. Second, unlike the 135, this lens does not excel at its maximum aperture. And third, I discovered that I didn't really "see" in 35mm -- my eye tended to gravitate toward 24mm and 50mm focal lengths. The first problem was alleviated with a trip to Canon's service center, where they repaired and calibrated the lens. The second issue was solved by simply pretending this was an f/2 lens. The third issue took patience and perseverance but, at long last, I've grown to love the focal length. The 35 is now one of my three most-used lenses, delivering great environmental portraits, group shots, landscapes and low-light interiors.

Cheaper than a tank of gas, this little plastic prime seems to be in every Canon shooter's kit. Although better than it should be, the lens is easily out-resolved by today's crop of dSLR camera bodies. Unless I simply can't bear to carry a couple more ounces in my bag, I will always opt for either the 35mm f/1.4L or the 85mm f/1.8--either of which will deliver far superior results. That's not to say the lens doesn't have its uses. Lately, I've been reverse–mounting it, thereby pressing it into service as a poor-man's macro.

Optically, this 50mm is even crappier than the Canon EF 50mm f/1.8 II, but it's so much more fun. Mounted on a miniature bellows, the 3G is focused by manually pushing or pulling the lens away from the camera body. If you do this asymmetrically, you'll create some bizarre selective focus effects. Want to change the aperture? Just insert some magnetic washers! Although a bit awkward for handheld use, the 3G's ergonomics improve drastically when the camera is mounted on a tripod. The optional "close up" adapters let you apply its glorious fuzziness to the macro domain. Totally useless for photojournalist work and, like the fisheye, a bit wearisome if used too often, the Lensbaby 3G succeeds by putting a little fun back into photography.

Review in progress.

Review in progress.

Physics? Try magic. This lens is, quite simply, the best glass I've ever had the pleasure to use. Adjectives like "stellar," "remarkable," and "extraordinary" don't do it justice. It's that good. It's just a shame this quintessential Canon glass occupies such an awkward focal length because it possesses the uncanny ability to absorb light where there is none. Wide open, it'll render a sharp, almost 3–dimensional look to any subject in its field of vision. Its uncanny ability to paint contrasty, saturated images in the dark makes it an ideal concert lens and, if you've got enough room to take a few steps backward, it'll deliver portraits gorgeous enough to hang in the National Gallery. This lens might just be supernatural.

Review in progress.

Exceptional images are definitely not the exception with this lightweight, affordable L–class ultra-wide zoom. I must admit to being initially suspect of this lens' capabilities. It is, after all, a zoom. Not only that, but It's a full stop slower than Canon's premium priced 16-35mm f/2.8L. But here's the thing: Since I use this lens for both landscape and architecture (two disciplines requiring good depth-of-field), its "detriments" are essentially negated by its intended use. Stopped down and mounted on a tripod, this lens is a landscape-capturing machine. Handheld at f/4, it's still surprisingly terrific. For a lens I thought would see limited use, it's become my #1 money-maker.